Japanese craft


Traditional 'crafts' in Japan have a long tradition and history. Included in the category of traditional crafts are handicrafts produced by individual artisans or groups, as well as works created by independent studio artists working with traditional craft materials, processes, or techniques.

History

Japanese craft dates back to the earliest human settlement of the islands. Handicrafting in Japan has its roots in the rural crafts and the material-goods necessities of ancient times. Traditionally, artisans used naturally and indigenously occurring materials, and objects were created to be used, not just to be displayed. As such, the border between art and craft is not always clearly defined. Crafts were needed by all strata of society and became increasingly sophisticated in their design and execution. Craft had close ties to folk art, but developed into fine art, with a number of aesthetic schools of thought, such as, arising. Craftsmen and women therefore became artisans with increasing sophistication. However, wares were not just produced for domestic consumption, but at some point items such as ceramics made by studio craft were produced for export and became an important pillar of the economy.
Family affiliations or bloodlines are of special importance to the aristocracy and the transmission of religious beliefs in various Buddhist schools. In Buddhism, the use of the term "bloodlines" likely relates to a liquid metaphor used in the sutras: the decantation of teachings from one "dharma vessel" to another, describing the full and correct transference of doctrine from master to disciple. Similarly, in the art world, the process of passing down knowledge and experience formed the basis of familial lineages. For ceramic, metal, lacquer, and bamboo craftsmen, this acquisition of knowledge usually involved a lengthy apprenticeship with the master of the workshop, often the father of the young disciple, from one generation to the next. In this system called, traditions were passed down within a teacher-student relationship. It encompassed strict rules that had to be observed in order to enable learning and teaching of a way. The wisdom could be taught either orally, or in writing. Living in the master's household and participating in household duties, apprentices carefully observed the master, senior students, and workshop before beginning any actual training. Even in the later stages of an apprenticeship, it was common for a disciple to learn only through conscientious observation. Apprenticeship required hard work from the pupil almost every day in exchange for little or no pay. It was quite common that mastery in certain crafts were passed down within the family from one generation to the next, establishing veritable dynasties. In that case the established master's name was assumed instead of the personal one. Should there be an absence of a male heir, a relative or a student could be adopted in order to continue the line and assume the prestigious name.
With the end of the Edo period and the advent of the modern Meiji era, industrial production was introduced; western objects and styles were copied and started replacing the old. On the fine art level, patrons such as feudal lords were unable to support local artisans as much as they had done in the past. Although handmade Japanese craft was once the dominant source of objects used in daily life, modern era industrial production as well as importation from abroad sidelined it in the economy. Traditional craft began to wane, and disappeared in many areas, as tastes and production methods changed. Forms such as swordmaking became obsolete. Japanese scholar Okakura Kakuzō wrote against the fashionable primacy of western art and founded the periodical to draw attention to the issue. Specific crafts that had been practiced for centuries were increasingly under threat, while others that were more recent developments introduced from the west, such as glassmaking, saw a rise.

20th century

Although these objects were designated as National Treasures – placing them under the protection of the imperial government – it took some time for their cultural value to be fully recognized. In order to further protect traditional craft and arts, the government, in 1890, instituted the guild of Imperial Household Artists, who were specially appointed to create works of art for the Tokyo Imperial Palace and other imperial residences. These artists were considered most famous and prestigious and worked in the areas such as painting, ceramics, and lacquerware. Although this system of patronage offered them some kind of protection, craftsmen and women on the folk art level were left exposed. One reaction to this development was the – the folk art movement that developed in the late 1920s and 1930s, whose founding father was Yanagi Sōetsu. The philosophical pillar of was "hand-crafted art of ordinary people". Yanagi Sōetsu discovered beauty in everyday ordinary and utilitarian objects created by nameless and unknown craftspersons.
The Second World War left the country devastated and as a result, craft suffered. The government introduced a new program known as Living National Treasure to recognise and protect craftspeople on the fine and folk art level. Inclusion in the list came with financial support for the training of new generations of artisans so that the art forms could continue. In 1950, the national government instituted the intangible cultural properties classification, which is given to cultural property considered of high historical or artistic value in terms of the craft technique. The term refers exclusively to the human skill possessed by individuals or groups, which are indispensable in producing cultural property. It also took further steps: in 2009, for example, the government inscribed into the UNESCO Intangible Cultural Heritage Lists. Prefectural governments, as well as those on the municipal level, also have their own system of recognising and protecting local craft. Although the government has taken these steps, private sector artisans continue to face challenges trying to stay true to tradition whilst at the same time interpreting old forms and creating new ideas in order to survive and remain relevant to customers. They also face the dilemma of an ageing society wherein knowledge is not passed down to enough pupils of the younger generation, which means teacher-pupil relationships within families break down if a successor is not found.
As societal rules changed and became more relaxed, the traditional patriarchal system has been forced to undergo changes as well. In the past, males were predominantly the holders of "master" titles in the most prestigious crafts. Ceramist Tokuda Yasokichi IV was the first female to succeed her father, Tokuda Yasokichi III, as a master, since he did not have any sons and was unwilling to adopt a male heir. Despite modernisation and westernisation, a number of art forms still exist, partly due to their close connection to certain traditions: examples include the Japanese tea ceremony,, and to a certain degree, martial arts.
In the1950s the mayor of Gifu invited Isamu Noguchi to help revitalise the declining local Washi paper industry. The collaboration led to the artist's reinterpretation and modernisation of traditional Akari lanterns. Noguchi reimagined the lamps using wire rather than bamboo for the structure, and electric lightbulbs rather than candles. The resulting "Akari light sculptures", as the artist called them, could be easily flattened and shipped, and were an immediate commercial success in Japan and worldwide. The lamps are still handmade in Gifu by the original manufacturer, Ozeki & Co.

Contemporary practice

The Japan Traditional Kōgei Exhibition takes place every year with the aim of reaching out to the public. In 2015, the Museum of Arts and Design in New York exhibited a number of modern artists in an effort to introduce Japanese craft to an international audience. In 2020 the Victoria and Albert Museum exhibition Kimono: Kyoto to Catwalk "presented the kimono as a dynamic and constantly evolving icon of fashion." The show, which was described as "a revelation" and "unmissable", was subsequently displayed at the V&A Dundee.
More recent exhibitions and initiatives such as the ORIGIN of SIMPLICITY at the ADI Design Museum in Milan, Nendo sees Kyoto at the Friedman Benda gallery in New York, Distillation of Architecture at the Architectural Association in London, and the Craft x Tech Tohoku Project have set out to both preserve these unique craft traditions and bring them to a wider audience by introducing modern technologies and instigating collaborations with international artists, architects, and designers such as Kengo Kuma, Sabine Marcelis, Yoichi Ochiai, and Oki Sato. These initiatives have taken diverse approaches to the overall question of how the ancient "aesthetic sensibilities embedded in Japanese craft can be reimagined" through the lens of contemporary design and technology so that they continue to exist and remain relevant in the future.
Other initiatives and promotional activities highlighting the contemporary practice and relevance of Japanese craft traditions include collaborations with Japanese and international luxury brands, exhibitions such as international art, craft, and design fairs, and events such the Osaka-Kansai Expo 2025.

Ceramics

, one of the country's oldest art forms, dates back to the Neolithic period. Kilns have produced earthenware, pottery, stoneware, glazed pottery, glazed stoneware, porcelain, and blue-and-white ware. Japan has an exceptionally long and successful history of ceramic production. Earthenware was created as early as the Jōmon period, giving Japan one of the oldest ceramic traditions in the world. Japan is further distinguished by the unusual esteem that ceramics holds within its artistic tradition, owing to the enduring popularity of the tea ceremony.
Some of the recognised techniques of Japanese ceramic craft are:
There are many different types of Japanese ware. Those more identified as being close to the craft movement include: